Hans Kotter shows nothing.
Although this may sound rather deflating, actually it is great art visualizing the nothingness all around us. For without light, without refraction and reflection, we would live in a world without colour and so without contours. In a unique way, therefore, Hans Kotter interprets the illusion that surrounds us every day; he develops the essences of this optical illusion and familiarizes us with the beauty of details and vision as such. He makes shadow into his protagonist, moving everyday objects quite literally into the best light; he allows them to act with neon light and so irritate both the eye and the intellect equally by suspending their function. Visual stumbling blocks as radiant objects of smooth aesthetic quality.
Hans Kotter finds his inspiration in life – in real life. In do-it-yourself stores and at fairs, wherever concrete matter offers him opportunity in the shape of specific material qualities. For every material reacts differently to his primary tool, reacts differently to the physical phenomenon of »light«. The actual fascination of his works, however, is not necessarily the staging of the objects used in their original size, or the fact that he lends (new ) meaning to them– instead, it is their astonishing interplay that leads to change in our perception. Hans Kotter not only performs magic with sources of light; he illuminates, highlights things that actually take place in the dark. Just as his means of expression is intangible, his works are not obvious, by any means: Hans Kotter manifests messages that have to be discovered first. They are metaphors that sometimes confuse us, making us question our own capacity for interpretation. So is freedom of interpretation permitted? Of course, but attention should be paid to the irony that is a vital constituent of Kotter's works!
However, none of his installations could evolve or exist if there was no space. The field of play surrounding Kotter's works maybe likened to a canvas from which he develops sleek references to current affairs, or humorous allusions to life's absurdities and therefore very personal stories, all subtly narrated.
In this present exhibition the viewer is permitted to explore the finite or rather the infinite quality of space – imaginary worlds evolve in impressive 3-D graphics, drawing the viewer on and on like a spiral, apparently unwilling to let him go: an undertow that pulls down his gaze, making him curious about the unfathomable – in the sense of literally intangible depths. In addition, a new work entitled »Big Bang ... Interruption« invites us into another confusing game, presenting an everyday phenomenon in a fresh context. »It shows the snapshot of a disaster, but simultaneously highlights the evolution of something new and purportedly better«, Hans Kotter says and so addresses the fascination and beauty of catastrophe.
Light – not only the instrument of artistic creativity, but also a focusing spotlight on life, on society with all its weakenesses and vanities. A spotlight that causes us to blink and may hurt for a moment or two, but soon – with its aesthetic qualities and irony–reconciles usto the world. As so often, therefore, here we should emulate Goethe, whose famous last words were a call for "More light!"